Tag: theatre

A Killer Performance Anchors a Sharp “Prescription: Murder”

by Richard Young

Reviewed by Jo-Anne Bishop

(Pictured: Cast of Prescription: Murder, Tameka Brown, Eve Cohen, Andre Cormier, David Pasquino, Sam Didi, and Makayla Ashenden. Photo Credit: Ross Davidson.)

Murder is rarely this polished – or this fun to watch.

On the Auburn Stage at the Grand Theatre in London, Ontario, Prescription: Murder wastes no time pulling its audience into a sleek, slow-burning game of cat and mouse. Running March 19–29 and directed by Stephen Mitchell, this black box production leans into intimacy and largely thrives because of it.

Originally written by William Link and Richard Levinson, the play serves as the foundation for the iconic television detective Columbo. The story centres on a brilliant and calculating psychiatrist who believes he has devised the perfect crime, only to find himself gradually entangled in a battle of wits with the seemingly unassuming Lieutenant Columbo. What unfolds is less a traditional whodunit and more a tense psychological chess match, where the outcome feels inevitable, but the journey is where all the intrigue lies.

(Pictured: David Pasquino as Lieutenant Columbo. Photo Credit: Ross Davdson.)

The ensemble is tight and reliable across the board. Makayla Ashenden brings a grounded vulnerability to Susan Hudson, while Tameka Brown and Eve Cohen offer strong, steady support as Miss Petrie and Claire Flemming. Sam Didi moves seamlessly through dual roles, and David Pasquino’s Lieutenant Columbo is understated, patient, and quietly probing—exactly what the role demands.

But let’s be honest: this is André Cormier’s show.

(Pictured: Andre Cormier as Dr. Roy Flemming. Photo Credit: Ross Davidson.)

As Dr. Roy Flemming, Cormier delivers a performance that is sharp, controlled, and magnetic. He walks a perfect line between charm and menace, with only the slightest of line slips in an otherwise near-flawless turn. What stands out most is his precision. Every look and every pause feels intentional. His seething, barely contained irritation with Columbo simmers just beneath the surface, and it’s riveting to watch. You don’t just see the character unravel; you feel it.

The staging makes smart use of the black box space, carving out distinct environments—the doctor’s office, reception area, apartment, and Columbo’s workspace—without overcomplicating things. A few of the scene changes occasionally drag a beat too long, but they’re supported by effective lighting and sound that keep the tension alive.

(Pictured: Tameka Brown as Miss Petrie, Andre Cormier as Dr. Roy Flemming, and Eve Cohen as Claire Flemming. Photo Credit: Ross Davdson.)

Costuming and attention to detail further ground the production in authenticity. Each character is clearly defined through wardrobe, but it’s Lieutenant Columbo who benefits most from these thoughtful choices. David Pasquino appears perfectly dishevelled with mussed hair, a slightly rumpled coat, and even an untied shoe that subtly reinforces the character’s offbeat, absent-minded persona. It’s a small but effective touch, and one that adds texture and believability without feeling trite or overstated.

(Pictured: Andre Cormier as Dr. Roy Flemming and David Pasquino as Lt. Columbo. Photo Credit: Ross Davdson.)

There are a few minor cracks in the illusion. Some set pieces wobble when doors are slammed, which briefly pulls focus. But these moments are small and quickly forgotten. Overall, this Prescription: Murder is lean, engaging, and anchored by a standout central performance. It’s a confident piece of theatre that knows exactly what it’s doing—and for fans of classic detective drama, it absolutely delivers.

IF YOU GO:

What: DJP Productions presents Prescription: Murder by William Link and Richard Levinson

When: March 19-29, 2026

Where: Auburn Stage, Grand Theatre, 471 Richmond St, London Ontario.

Tickets: $31.70-$36.70  Prescription: Murder | The Grand Theatre

Reviewed by Jo-Anne Bishop.

Background and Experience in the Arts

My background in the Arts started with an early love for music and dance. I attended my first concert at 10 years old (Helix at the Sarnia Arena in 1983!) and began tap and modern jazz dance lessons around the same time. My love for live theatre was built through school trips to the Stratford Festival to see plays like Romeo and Juliet, The Merchant of Venice, and Macbeth, and a trip to Toronto for The Phantom of the Opera, which quickly became my all-time favourite.

I dreamed of performing for many years, but being too self-conscious to audition in high school, I sat on the sidelines and instead reviewed music and theatre for our school newspaper. In 2013, I finally pushed my fears aside and was cast in my first play, Laughter on the 23rd Floor, as Carol Wyman, the only female writer on the Max Prince show. I have since performed in productions of Birth (Jillian, 2016), Hamish (Annette, 2023) and The Curious Incident of the Dog in the Nighttime (Mrs. Alexander, 2024).

Previous Reviewing Activities

SCITS, Sarnia, Ontario – High school newspaper reviewer for Music and the Arts

London Fringe Festival, London, Ontario, 2012-2015

Independent Reviewer and Blogger (Theatre in London and The Pollyanna Papers), 2015-2016?

Why am I jumping back into the fray now?

After performing for a few years, I’ve decided to take a break from the grind of auditioning, rehearsing and performing. While I love it immensely, it’s a lot of work. Performing has given me a whole new perspective and appreciation of what goes into a production and the ability to look at reviewing with a fresh set of eyes.

Thoughts about the London arts and culture scene, especially local theatre

Hoo wee! London has such a wealth of talent, from youth to adults. Every time I see a play, I am amazed at how talented our actors, directors, producers, set/prop/costume/light/sound designers are. I don’t think causal observers realize just how much goes into making a production from the audition to the curtain call. It is a huge undertaking, and to think our theatres produce such world-class productions on some very tight budgets is astounding, especially at the community theatre level, where volunteers do everything.

Sadly, since COVID, I have witnessed a huge decline in attendance at performances, and it breaks my heart. I have also noticed a sad lack of reviews lately, which I find are necessary to give people an idea of what to expect and a reason to go to the theatre.

So, before I can put my feet on the stage again, I want to help put bodies in the seats. We need to reignite a love for theatre and the arts in this city.

Q&A Interview with David Pasquino, Founder of DJP Productions

by Richard Young

What follows is a Q&A Interview with David Pasquino, founder of DJP Productions, who also plays Lieutenant Columbo in the company’s inaugural production, Prescription: Murder. The show runs on the Auburn Stage at the Grand Theatre from March 19 to 29.

(Pictured: DJP Productions founder David Pasquino in character as Lt. Columbo. Photo by Ross Davidson.)

Q. How did Prescription: Murder come about? Is it my understanding that its origins are to be found in an episode of the beloved TV series Columbo? Which came first – the play or the TV show?

It’s a great question, and the answer is a bit of a twist worthy of Columbo himself.

Most people assume Prescription: Murder came after the TV series, but in fact, it’s where Columbo began. The story first appeared in March 1960 as a short piece by William Link and Richard Levinson in Alfred Hitchcock’s Mystery Magazine, featuring a detective named Lt. Fisher.

The next version of the story was called Enough Rope and was featured in alive television drama on The Chevy Mystery Show. That’s where we first encounter Lt. Columbo. In the show, Dr. Flemming and his wife plan a weekend trip to Toronto (as opposed to upstate New York, as we see in the play)!

That version evolved into the stage play Prescription: Murder in 1962, which toured successfully and was headed for Broadway before the untimely death of its lead actor, Thomas Mitchell. It wasn’t until 1968 that the story was adapted into the now-iconic TV special starring Peter Falk, launching the beloved Columbo series as we know it.

So, the origin story actually runs in reverse of what most people think:
short story → live TV → stage play → TV special.

Q. What motivated you to select this particular play for DJP Productions’ first production?

Honestly? It’s Pat Sajak’s fault!

A couple of years ago, I came across an article about what Pat planned to do after Wheel of Fortune. Surprisingly, it wasn’t retirement, it was community theatre! Even more surprising? He was stepping into the role of Dr. Flemming in Prescription: Murder at the Hawaii Theatre for a fundraiser. I had no idea that Columbo had started as a play!

That stopped me in my tracks. I had grown up watching Columbo with my family, but I had no idea the character originated on stage. Curious, I ordered the script, and the moment I read it, I was hooked. The tension, the structure, the cat-and-mouse dynamic, it all felt tailor-made for live theatre. And somewhere along the way, I had a realization: I need to see this on stage… and I want to play Columbo.

I brought the idea to my talented wife, Diana Tamblyn, and instead of talking me out of it, she leaned in. She offered to take on the marketing and promotion, and together we saw the opportunity: a smart, suspenseful story with a built-in nostalgia factor that we felt would really resonate with London audiences.

So, what started as a late-night click on an article quickly turned into something much bigger: the launch of DJP Productions and our first production.


Q. Could you provide a brief plot synopsis of the play?

Without giving too much away? Okay: a murder has taken place. A certain unkempt, fumbling, cigar-smoking detective appears on the scene and must unravel the mystery while matching wits with a brilliant killer.

Q. Why did you choose to stage the play at the Auburn Theatre?

I’ve performed there before, so I already knew how special the space is, it has this intimate energy where the audience feels close enough to be part of the story, but still large enough to create real theatrical impact. For a show like Prescription: Murder, where tension and subtlety matter, that balance is everything.

As a first-time producer, that “middle ground” was important. I didn’t want something too small or something overwhelming. The Auburn sits perfectly in that sweet spot: ambitious, but manageable.

There’s also a practical side. It’s a great central location, and having the support of The Grand Theatre behind the scenes, especially for ticketing, adds a level of professionalism and confidence that’s invaluable for a first production.

To top it off, our Director, Stephen Mitchell, worked as a technician in the space for many years, so he is intimately familiar with it. In a lot of ways, the Auburn wasn’t just a venue choice; it became part of the foundation that made launching DJP Productions feel possible.

Q. The Lt. Columbo character, played so marvellously by the late Peter Falk, with all his quirks and mannerisms, must be a hoot to play. Tell me about how you prepared to play the character.

You’d think the first thing I’d do is binge-watch Columbo—but I actually did the opposite.

Peter Falk’s performance is so iconic, so deeply ingrained in all of us, that I knew if I immersed myself in it again, I’d end up doing an imitation of him, and that’s not what this play calls for. Since this version of Columbo actually predates the TV series, so my goal was to go back to the source.

Instead, I lived in the script. I read it over and over, really digging into the stage directions, the rhythm of the dialogue, the subtle cues the writers embedded. I wanted to understand who Columbo was before he became the trench coat, the cigar, the cultural icon.

That said, you can’t completely escape Peter Falk, and I wouldn’t want to. There are a few small, intentional nods in my performance, and I’m sure some of those familiar quirks will surface naturally. But the aim isn’t to replicate—it’s to rediscover.

It will be interesting to hear from people what they think. Regardless, trying to step into the shoes that Peter Falk wore so well for so long is a daunting task, and I hope that people will find my Columbo both fresh and… comfortably familiar.

(Pictured: Tameka Brown as Miss Petrie, André Cormier as Dr. Roy Flemming, and David Pasquino as Lt. Columbo. Photo by Ross Davidson.)

Q. What have been your major challenges getting into the character? Any fear that audiences will spend too much time comparing your portrayal to that of Falk?

I have woken up early many mornings worrying about exactly that! Of course, I want to pay homage to Peter Falk’s Columbo, but I don’t want to be David Pasquino playing Peter Falk playing Columbo.

Again, that’s where the script comes in because it was written before Peter Falk ever took on the role, so my responsibility was to stay true to that original interpretation. I even considered dyeing my hair to resemble him more closely—but my wife made a great point: not looking like Falk might actually help the audience separate my Columbo from his.

Q. What can audiences expect from Prescription: Murder?
For those audience members who are fans of Columbo, hopefully a pleasant visit with a familiar friend. For those who are new to Columbo, an introduction to a cast of interesting, fun characters and a visit to a time before cell phones!

And for both, an enjoyable evening experiencing the twists and turns in a smart, fun story, watching a game of cat and mouse between two brilliant but unconventional people, where the outcome may be known, but how they get there is all the fun!

Q. Tell me about DJP Productions, its origins, mandate and future plans.
I set up DJP Productions for the sole purpose of putting on this show. “DJP” may be my initials, but it could also stand for “Discover Joy and Passion,” which is what I hope that everyone involved in this show, cast, crew and audience, will experience.

As for the future… let’s see how this one goes, and then I’ll see what I’m up for. Although I have had a few people approach me with ideas!

Q. Is there anything else you think our readers should know about DJP’s production of Prescription: Murder?

Let’s all have some fun and enjoy the show!

(Pictured: Cast & Crew of Prescription: Murder. Photo by Ross Davidson.)

Cast:

Tameka Brown – Miss Petrie
Andre Cormier – Dr. Roy Flemming
Eve Cohen – Claire Flemming
Makayla Ashenden – Susan Hudson
David Pasquino – Lieutenant Columbo
Sam Didi – Dave Gordon/Delivery Person

Crew:

Stephen Mitchell – Director/ Sound & Set Design
Mariann Sawyer – Stage Manager
Jessica Norrie – Assistant Stage Manager
Barbara Rand – Props Lead
Nancy Daoust – Props Assistant
Tannis Daoust – Costumes
Diana Tamblyn – Marketing & Promotion
Rob Coles – Lighting Design
David Pasquino – Producer

IF YOU GO:

What: DJP Productions presents Prescription: Murder.

When: March 19 to March 29, 2026.

Where: Auburn Stage at the Grand Theatre, 471 Richmond Street, London, ON.

Tickets: Available in-person at the Box Office, by phone at 519.672.8800, and online at Prescription: Murder | The Grand Theatre

Q&A Interview conducted by Richard Young.

Oscar Wilde’s The Importance of Being Ernest comes to the Spriet Stage at the Grand Theatre, from March 24 through April 12.

by Richard Young

With Files Provided by The Grand Theatre

An all-new, London-made production of Oscar Wilde’s classic romp of friendship and falsehoods will take to the Spriet Stage at the Grand Theatre, running from March 24 through April 12. Director Alistair Newton helms a vivid, design-forward staging of The Importance of Being Earnest with an attention to the aesthetic that rivals perhaps even that of Wilde himself. 

“The Importance is rife with biting wit and social commentary that remain relevant today, delighting audiences around the world for more than one hundred years now. If we were going to bring this play back to our audiences at the Grand, we wanted to bring a bold idea to it,” shares Rachel Peake, Artistic Director of the Grand Theatre. “Enter Director Alistair Newton.”

(Pictured: Alistair Newton. Photo Credit: David Cooper.)

Newton has penned new text, “On the Language of Fans”, and has introduced a new role – Lady Stella Clinton. Also known as Ernest Boulton, Lady Stella was a 19th-century queer trailblazer who famously fainted when she was found innocent in the trial of the century, after being arrested for wearing women’s clothes. In Newton’s The Importance, Lady Stella will delight audiences with a pair of musical numbers by Gilbert and Sullivan that have been added to the show.

Billy Lake makes his Grand Theatre debut as Lady Stella Clinton and joins a familiar cast of characters, including Deena Aziz as Miss Prism, James Daly as Algernon Moncrieff, Julien Galipeau as John Worthing, Kaylee Harwood as Gwendolen Fairfax, Claire Jullien as Lady Bracknell, Ben Sanders as Rev. Canon Chasuble  / Lane, and Mirabella Sundar Singh as Cecily Cardew.

(Pictured: Billy Lake as Lady Stella Clinton. Photo Credit: Mai Tilson.)

“Productions of The Importance are usually accompanied by associations –heavy curtains, fussy furniture, lace doilies – which are drawn more from our culture’s received ideas about the late Victorian period than from an aesthetic universe whose dramatic language included melodrama and the transgressive queerness of the music hall,” says Newton. “In fact, Wilde’s plays have the potential to illuminate the 19th Century in ways that challenge many of these preconceptions, full as they are of secret codes, hidden symbols, double entendres, and perhaps above all, delightful paradoxes.”

Featuring opulent, high-fashion wardrobe, the production will be colour-blocked with each act unveiling itself as vividly monochromatic. “The green of Act One comes from the code of the dyed carnation flowers which Wilde and his set wore on their lapels to identify one another,” reveals Newton. “The yellow of Act Two is the same hue as the covers of ‘decadent’ French literature of the period, as well as of the Yellow Book, a publication of the Aesthetic Movement. The red of Act Three is taken from Wilde’s vermillion office at his family’s London home on Tite Street; a blast of shocking, subversive colour amidst an otherwise tastefully minimal, and mostly white, interior.”

(The Importance of Being Ernest. Costume Design by Judith Bowden. Photo Credit: Mai Tilson.)

Newton’s vision becomes reality through the show’s creative team which includes Stephen Ingram as Music Director, George Absi as Choreographer, Michelle Tracey as Set Designer, Judith Bowden as Costume Designer, Siobhán Sleath as Lighting Designer, Olivia Wheeler as Sound Designer, Phyllis Cohen as Dialect Coach, Michael Hart as Stage Manager, Jordan Guetter as Assistant Stage Manager, and Tsz Ting Lam as Apprentice Stage Manager.

With the show’s innovative design, spectacular wit, and the addition of song, dance, and drag, this London-made production of The Importance of Being Earnest highlights the underlying queer code that exists throughout Wilde’s masterpiece. 

Director Alistair Newton on The Importance of Being Earnest at the Grand Theatre: https://youtu.be/aY7sdbTvr30?si=SbutewNaAes6hcg2

Creative Team

Alistair Newton – Director

Stephen Ingram – Music Director

George Absi – Choreographer

Michelle Tracey – Set Designer

Judith Bowden – Costume Designer

Siobhán Sleath – Lighting Designer

Olivia Wheeler – Sound Designer

Phyllis Cohen – Dialect Coach

Michael Hart – Stage Manager

Jordan Guetter – Assistant Stage Manager

Tsz Ting Lam – Apprentice Stage Manager

Cast

Deena Aziz – Miss Prism

James Daly – Algernon Moncrieff

Julien Galipeau – John Worthing

Kaylee Harwood – Gwendolen Fairfax

Claire Jullien – Lady Bracknell

Billy Lake – Lady Stella Clinton / Merriman

Ben Sanders – Rev. Canon Chasuble  / Lane

Mirabella Sundar Singh – Cecily Cardew

IF YOU GO:

What: Oscar Wilde’s The Importance of Being Ernest

When: March 24-April 12, 2026.

Where: Spriet Stage at the Grand Theatre, 471 Richmond Street, London, ON.

Tickets: Single tickets range from $25 to $97 and are available in-person at the Box Office, by phone at 519.672.8800, and online at grandtheatre.com/event/importance-of-being-earnest. 

David Long – A Life In Apples, Advocacy and Community Theatre

by Richard Young

By J. Bruce Parker

(Pictured: The Palace Theatre’s David Long.)

The Palace Theatre, constructed in 1929 as a venue for silent movies and designated by the City of London in 1991 for its historic or architectural value or interest, remains a focal point in London’s Old East Village for quality theatre. It is the home of London Community Players, London Youth Theatre Education & London Fringe.

This historic venue is divided into two stages, the 75-seat Procunier Hall and the 350-seat David Long Stage.

Often, a stage is named after a beloved but deceased benefactor, actor, producer, or director. However, David Long is still with us, with a 47-year history associated with the London Community Players.

I recently met up with David at his home in East London. Over coffee and banana bread and surrounded by a lifetime’s collection of artwork and plates, we discussed the trajectory of his life.

(Pictured: David Long.)

The Long family’s ancestry in London dates back to 1850. At some point, according to David, family members “dispersed around the city.” David’s great-grandparents purchased land in the vicinity of Commissioners Road and Andover Drive. His father established Wood Lynn Farm Market, with various venues in the city. The Longs owned 300 acres of apples alone.

Wood Lynn Farms would become the first ‘pick your own’ orchard in Ontario. A pre-teen David was conscripted to wait at the gate and hand out a flyer to incoming customers, offering smiles as well as both prices and the ‘rules’ of the orchard. No overfilling, and there were trunk checks. At the time, a bushel of apples cost $1.50. This was long before ‘controlled atmosphere storage’ of apples, and so three generations of the Long family were involved during the narrow apple picking season, which would run from September into the Thanksgiving weekend of October. David proudly adds, “They were lined up on Oxford Street.”

David Long stayed true to his original neighbourhood, where his family home was established in 1935, just three houses from the Brick Cemetery. In 2010, ‘Friends of Brick Street Cemetery’ was established to provide guardianship to the eternal home of over 750 souls, and David Long got on board. The first burial occurred in 1813, 13 years before the City of London was established.

The organization researched the names of those under the soil and began repairing and re-erecting tombstones. According to David, “one third of the stones were on the ground, one third were leaning, and one third were still standing.” David was dubbed with the nickname ‘Jigsaw’ as it was his task to reassemble broken tombstones with both cement and epoxy. There was also the painstaking effort to clean the fronts of the stones without diminishing the lettering.

It was at York University in the 1970’s that David enrolled in a theatre program. . His desire to study theatre was built upon his drama experience in high school, which included a role in a production of the classic “Arsenic and Old Lace.”

But a year in university was enough, and he eventually returned to London after a bit of a tenure working in a paint store in Stratford.

It may or may not have been a synchronistic moment, but David’s return coincided with the beginnings of the London Community Players. He had invested a year’s worth of training in drama, and now a new theatre back home was opening.

The genesis of the London Community Players began with former members of ‘London Little Theatre’ as well as some passionate and earnest local actors. Productions began at the Gallery Theatre established at 36 York St. Their focus was Canadian-written plays, and 35 were performed between 1974 and 1978.

David leapt in and was cast in “Norman, Is That You?’ London’s first ‘gay’ play, a work David regards as a “bit of fluff,” but an important piece of theatre in recognizing and accepting London’s gay community. This was 1977, and London Free Press theatrical reviewer, Doug Bale, who could run roughshod over a local production, answered the question “Is London ready for gay plays?” with a resounding “Yes”.

David’s talents were also recognized in his ability to design and create sets. “My one grandfather built houses, and my other grandfather painted houses. I think I get my building skills from one and my painting skills from the other. The theatre discovered that I could build sets, and so that was the end of my acting career.”

As David was settling back into the theatre in his hometown, ‘HALO,’ the Homophile Association of London, Ontario, was establishing itself as a community club at Colbourne and Pall Mall streets. When David came out as a gay man in the late 70s, he had the support of his family, specifically from one of his grandfathers, who stated, “I knew people like that at Beal in the 1920s, and it didn’t bother me then, and it doesn’t bother me now”.

(Pictured: HALO Building, Colborne and Pall Mall Streets, London, ON.)

David eventually became president of the HALO club at a time of social intolerance of homosexuality. He was often the subject of homophobic slurs as he entered the front door, as well as dealing with vandalism in the form of broken windows, which were eventually boarded up. He recalls, “The music didn’t stop, and the dancing didn’t stop, so the club persevered and survived.”

This was a time when the former mayor of London, Diane Haskett, refused to proclaim ‘Gay Pride’ at City Hall as it was against her Christian values. She was eventually overruled by the Ontario Human Rights Tribunal, and the gay pride flag was flown over city hall. The HALO centre was the hub of the largest gay community in Canada, struggling yet surviving.

David recalls, “There were always lineups to get in. We had double-door security to protect our patrons. We always had Western (referring to the University of Western Ontario). The thing with the gay community at UWO was that everyone was here for four years. They would arrive, they came out, came to HALO, and they left when they graduated. There was always this kind of turnover.”

By the early 90s, within the gay community of London, HIV/AIDSwas creeping in. This disease was largely ignored by the media as well as American President Ronald Reagan. made its impact in London.

John Gordon was the first man in London to come out about his diagnosis of AIDS in South Western Ontario, and his death and legacy were the cornerstone of the creation in 1992 of the `John Gordon Home’, a Victorian-style residence on Dufferin Ave, which became a hospice. Tenants were cared for by a team of 30 volunteers (myself being one). The bedrooms of the building were remodelled, offering an individual design to each of the eight. David Long coordinated the renovation. He eventually found himself on the board of the John Gordon Home and was the representative of JGH to the Aids Committee of London. David knew the first residents, the first to arrive and the first to go to spirit.

During the same period, the London Community Players were growing. With his long-standing work with the theatre, David became part of the Board of Directors. There was this notion to physically expand the theatre as it grew, but it was David Long who noticed the ‘For Sale’ sign at the Park Theatre in East London. There was an existing stage as well as seating for up to 400 people, and in short order, the deal was closed, and the Park Theatre was purchased in December of 1990.

Renovations happened quickly, with backstage areas including dressing rooms being constructed, with the first play opening in July of 1991.

David reflects. “Looking back over the years, some of the plays we have done there have been mind-boggling.’ He adds, “It is community theatre, but you balance the events. You have people who want the light entertainment, and you have people who want to be entertained, challenged, and educated.”

Now in its 51st season, The Palace Theatre continues to present engaging theatre to the London public. But community theatre has always had its challenges.

There is the issue of operating on tight budgets and high production costs. There is a reliance on volunteers, who may come and go. Casting actors has its own issues of scheduling conflicts as well as finding actors with the right skills. You also have to find a balance to produce safe and popular shows which guarantee the sale of tickets up against bringing in challenging and thought-provoking work. Every town and city which has a community theatre is always under this threat.

The Palace Theatre has had its share of added challenges. London has a homeless population of over 2000, and the 700 block of Dundas Steet as David Long calls it is ‘ground zero’ for the problem of homelessness. The plight of vagrancy in London carries the issues of addiction, mental health problems and vandalism, which directly affects the Palace Theatre.

Windows have been broken, as well as break-ins and theft. There is open drug use on the block, which is a deterrent to potential theatre goers.

Providing security is expensive, as hundreds of dollars are required to secure each production, protecting the building as well as safely ushering patrons in and out.

David adds, “The social services provided here are overwhelmed, and the foot patrol can only do so much,” adding, “Theatre used to be in the parks and on the streets, and we just can’t do that now.”

(Pictured: The Palace Theatre’s David Long.)

What is the future for Community Theatre?

“The future is challenging. There are theatre companies always closing down as they cannot adapt, change and survive. We need young people to get involved in theatre in multiple layers,” says David. He adds, “We used to sit and talk on breaks during rehearsals. Now everyone is on their phones. Cell phones are the worst invention which creates distractions from real communication.”

“There is this perception that we are an elite group of people. No, we are just trying to pay the rent and are open to any and all ideas for the stage. Give us something challenging, and we would love to do it. Let’s use Procunier Hall to do create something very ambitious.”

And what would be the ideal piece of theatre?

“Something in Procunier Hall, about 90 minutes long with no intermissions, no breaks, and no lapses with the actors and their connection to the audience”.

He slyly adds, “We shut the door for 90 minutes, and you can’t get out.”

David’s lifelong commitment to Community Theatre is reflected not only in the productions selected for the stage but also in the sets he thoughtfully designed and created. The David Long Stage that proudly bears his name stands as a fitting and enduring tribute to his dedication, creativity, and lasting impact.

To learn more about the Palace Theatre Arts Commons and its productions, visit Palace Theatre Arts Commons | London ON Community Theatre

By J. Bruce Parker

J. Bruce Parker is a retired oncology nurse. As an avid cyclist, he crossed the country by bicycle in 1991 and still explores Ontario’s north via canoe trips. He has published a short story based on his camping experiences.

For over 20 years, as a citizen scientist, he was involved with Monarch Watch, an organization that monitors the annual migration of the Monarch butterfly. He has written about this species and other articles on nature for The Cardinal, Nature London’s quarterly magazine.

For more information about Nature London and The Cardinal, visit https://www.naturelondon.com/the-cardinal/

He is documenting his ongoing friendship with Canadian poet bill bissett, which he hopes to eventually publish. 

Bruce has been writing articles for Villager Publications since 2022. To read samples of Bruce’s writing, visit https://www.villagerpublications.com/

Mrs. Krishnan’s Party Cooks Up Community at The Grand

by Richard Young

Reviewed by Charlotte MacDonald

(Mrs. Krishnan’s Party. Photo: Dahlia Katz.)

Walking into Mrs. Krishnan’s Party at The Grand Theatre’s Auburn Stage, I had no idea what to expect.

After being handed a piece of paper captioned “Wallflower,” I was greeted by a vibrantly clothed man, grinning from ear to ear, welcoming audience members and directing us to our seats.

Inside the theatre, chairs were set up around the perimeter of the room, all facing inwards to a table with a single countertop burner in the centre, and a platform draped in patterned sheets stood toward the back, where actors could enter and exit. Hanging from the ceiling and around the walls were garlands of red flowers, and boxes, presumably containing inventory overflowing from Mrs. Krishnan’s shop, gathered around the edges of the room.

From the stage set up alone, I knew this wasn’t going to be a typical performance – and I was right.

To start the show was the same colourfully dressed man from earlier, played by Justin Rogers, performing as James (or self-proclaimed DJ Jimmy J), Mrs. Krishnan’s boisterous and energetic boarder.

(Pictured: Justin Rogers as DJ Jimmy J and audience members. Photo: Dahlia Katz.)

He explained to the audience that it was a day of celebration and that we were invited to join in the festivities of the annual Hindu harvest festival, Onam. The catch? Mrs. Krishnan doesn’t know that all 100+ of us are in the back of her shop and ready for a party.

Within minutes, James had brightly coloured scarves passed around for every audience member to wear, quickly painting the room in vibrant oranges, yellows, greens and pinks. He then began to play loud, energetic music, inviting people to clap, get on their feet, put their hands in the air and start the party.

It dawned on me like the sun that I had unknowingly placed myself at the epicentre of internal conflict for every introverted arts lover: interactive theatre.

Safe to say, as an introvert, I was terrified of what I had just gotten myself into. On the other hand, as a theatre fan with a job to accomplish, I knew what I had to do, and so, despite my natural aversion to high-intensity social settings, I swallowed my fear and surrendered.

The story is set into motion by the eponymous Mrs. Krishnan, an Indian immigrant mother and widow who runs Krishnan’s Dairy, and awaits her son’s return home to celebrate Onam, played by Kalyani Nagarajan. She makes her entrance with a literal bang, as she stumbles in the dark offstage after James turns the lights off in an attempt to surprise her with the abundance of strangers gathered in the backroom of her shop.

(Pictured: Kalyani Nagarajan as Mrs. Krishnan. Photo: Ankita Singh.)

After the audience yells “surprise!” Mrs. Krishnan is in serious shock at the sight of all of us, appearing timid, reserved and mildly furious with her boarder. While her strict, regimented demeanour remains present throughout much of the show, it isn’t long before her quirky, unapologetic and playful side begins to emerge as she grows more comfortable with the visitors in her shop.

A key component of this performance is its reliance on audience interaction. Both Rogers and Nagarajan constantly defer to the audience to decorate the unfolding story, and at times even invite them on stage to assist in cooking the Dahl for the party. Among these audience members of my show were Tom, a six-foot-four man who took it upon himself to help Mrs. Krishnan open the canned tomatoes — prompting her to repeatedly complain that James should be more like him — Kevin from the back row, whose name resulted in loud cries of “KEVIN!” from Mrs. Krishnan in a playful Home Alone reference and, my personal favourite, the little boy sweeping the fallen rice off the floor while laughing at every moment.

(Pictured: Audience Members, Mrs. Krishan’s Party. Photo: Dahlia Katz.)

While I knew this was a theatre performance, at times it felt more like watching a stand-up comedy set from performers who had mastered the art of crowd work, effortlessly rolling with every joke and unexpected moment. What made it even more unique was the knowledge that no two performances would ever unfold in quite the same way.

As artistic director of The Grand, Rachel Peake explains, “Immersive theatre removes the division between audience and stage — calling on the audience to meet the experience with all five senses, and clearly articulating that each performance is unique, influenced by the particular confluence of people on any given day.”

(Pictured: Rachel Peake, Artistic Director, The Grand Theatre.)

The constant humour present throughout the performance also made the more serious moments land with greater weight by contrast. I appreciated that the story allowed for its characters to be more than simply funny, revealing them as people searching for meaning in a world where happiness is not always easy to find.

This becomes even more layered when the reality of cultural displacement is considered, making Mrs. Krishnan representative of more than just herself.

In an interview with me after the performance, Nagarajan explained, “She is every migrant struggling to find their place in their community, battling with her son, battling with this idea of duty versus choice and freedom…I think that’s why a lot of the Indian community here identifies with her. They go like, ‘I know who that person is, and I want to call my mum,’ or ‘I am that mum.’”

Once the show concluded, to celebrate the party and the community forged over the last 80 minutes, the actors served the dahl made throughout the performance to the audience.

In the end, as apprehensive as I was in the beginning, I’m glad I stayed to feel part of a performance meant to bring people of different backgrounds together in a shared celebration. Saturated in humour, doused in conflict, and marinated in community, Mrs. Krishnan’s Party was a reminder that even in the midst of chaos, we can choose to celebrate anyway.

What: The Grand Theatre presents Mrs. Krishnan’s Party.

When: February 25 – March 7, 2026.

March 5, 2026 | 7:30pm

March 6, 2026 | 8:00pm

March 7, 2026 | 2:00pm

March 7, 2026 | 8:00pm

Where: Grand Theatre, 471 Richmond Street, London, ON.

Tickets: Tickets can be purchased online at grandtheatre.com, by phoning the Box Office at 519.672.8800, or by visiting the Box Office in person at 471 Richmond Street (weekdays from 9:00 a.m. to 5:00 p.m., and Saturdays from 11:00 a.m. to 3:00 p.m.).

Reviewed by Charlotte MacDonald

Charlotte MacDonald is a Creative Writing and History student at Western University. She currently writes about theatre, pop culture, and campus life for The Western Gazette, works as a Digital Intern at The Walrus, and hosts a radio show at Radio Western. Growing up in Toronto, theatre has always been a staple part of Charlotte’s life, and she has come to greatly enjoy engaging and contributing to the theatre community through her writing.

Q&A With Julianna Goertzen, Director of Harris Cashes Out!

by Richard Young

London Community Players’ production of Harris Cashes Out! plays on the Procunier Hall stage at the Palace Theatre from March 5 – 15. Director Julianna Goertzen talks about the production in this Q&A interview with Richard Young.

Q. What is the basic premise of Harris Cashes Out? Could you provide a brief plot synopsis?

Harris Wellborn is an old, washed-up Broadway musical writer who didn’t make much money in theatre. After his wife passed away, he fell into despair, and his sister, Maggie, moved him against his will to Baltimore to be closer to her. She arranged for an eccentric dog walker, Kim, to check on him and his health, but Kim and her boyfriend, Jason, had other plans to take advantage of Harris and his musical writing past. It’s a comedy about relationships and the things that happen when very different people are in proximity to one another.

(Pictured: Harris Cashes Out! Director, Julianna Goertzen. Photo: Ross Davidson.)

Q. The description on the Palace Theatre website indicates that the play has a Broadway theme. Does it include any musical numbers?

The only musical numbers it includes are the little ‘soft-shoe humming’ songs that Harris (played by Tim Bourgard) makes up on stage every performance. You may also recognize famous musical numbers played during the intermission and changes in scenes.

(Pictured: Tim Bourgard as Harris Wellborn. Photo by Ross Davidson.)

Q. Why did you choose the Procunier Hall stage as opposed to the larger Palace Theatre stage?

With a play like Harris Cashes Out!, I believe it would be more appropriate for a smaller venue like Procunier Hall to hold. With only four actors and a simple rundown apartment set, you’re right up close to the action and can hear the quiet, sensitive scenes that you might not catch with a big stage.

Q. Can you tell me about the playwright Londos D’Arrigo? I understand he’s Canadian and from around these parts. What other noteworthy plays has he written?

Londos was born, raised, and currently resides in Toronto. We have the privilege of having him coming to see our production of Harris Cashes Out! and we are very excited. Londos says that Harris Cashes Out! is a favourite of his. Other comedic plays he has written include Spreading it Around, which the London Community Players produced in 2009 at the Palace Theatre. He has also written a play called Vicki’s Back!, which sounds very similar to Harris Cashes Out!, written with a female lead in ‘show biz’.

(Pictured: Playwright Londos D’Arrigo.)

Q. Can you tell me something about yourself in terms of your involvement in community theatre, things such as other plays you have directed, produced or starred in?

I have always been involved in theatre from a young age. Most of my theatrical career was with Aylmer Community Theatre (ACT). In 2007, I started out as a makeup artist and dresser for those quick changes backstage. My acting debut on ACT’s stage was a comedy called Not Now Darling by Ray Cooney and John Chapman, where I played Sue Lawson. I was required to act drunk and walk around in my underwear on stage. Since then, I have been a part of many productions, whether as a stagehand or stage manager. My specific role was not of primary importance; what mattered most was that the cast and crew enjoyed a positive experience while producing the show.  I have only directed two one-act shows with ACT in the past, so this is also my first full-length show.

In regard to my London community theatre experience, this is my directorial debut. A year ago, I was on the Palace Theatre stage as Dorothy Foxton in Murdered to Death, a comedy by Peter Gordon; before that, I was Dorothy in Stepping Out by Richard Harris in 2009. 

(Pictured: Vivien King-Sherwood as Maggie Bellows. Photo by Ross Davidson.)

Q. What challenges have you encountered bringing this play to the Procunier Hall stage? 

I have experienced very few challenges with bringing Harris Cashes Out! to Procunier, although the set and lighting crew may disagree since a set like this hasn’t been built in Procunier Hall for as long as anyone can remember. The biggest challenge about the play is the part of Harris. Harris’ lines amount to 50% of the dialogue. Tim Bourgard, who plays Harris, has been working very hard to recall every word, blocking, prop, and costume piece. The other actors have been very helpful and encouraging to Tim as we make our way through rehearsals.

(Pictured: Sam Didi as Jason Sernach. Photo by Ross Davidson)

Q. Is there anything else you think our readers should know about LCP’s production of Harris Cashes Out!?

This family-friendly show is full of laughs for all ages. Come out and enjoy live theatre up close and personal in Procunier Hall at the Palace Theatre. You won’t regret it.

(Pictured: Kim Sutton as Jasmine Gunkel. Photo by Ross Davidson.)

CAST & CREW: HARRIS CASHES OUT!

DirectorJulianna Goertzen
Stage ManagerAlex Goertzen
ProducerAndrew Kaszowski
Assistant Stage ManagerAndrea Stevens
Light DesignAndrew Kaszowski
Sound DesignAlex Goertzen
CostumesJulianna Goertzen & MJ Walzak
PropsColin Arthur
Intimacy CoordinatorJames Noonan
Set Build LeadDavid Long
Harris WellbornTim Bourgard
Maggie BellowsVivien King-Sherwood
Kim SuttonJasmine Gunkel
Jason SernachSam Didi

IF YOU GO:

What: London Community Players present Harris Cashes Out!

When: Thursday, March 5 – 7:30 pm
Friday, March 6 – 7:30 pm
Saturday, March 7 – 7:30 pm
Sunday, March 8 – 2:00 pm
Thursday, March 12 – 7:30 pm
Friday, March 13 – 7:30 pm
Saturday, March 14 – 2:00 pm
Sunday, March 15 – 2:00 pm

Where: Palace Theatre, 710 Dundas St, London, ON.

Tickets: https://mytickets.palacetheatre.ca/eventperformances.asp?evt=526

For more information about the Palace Theatre, visit https://palacetheatre.ca/

Follow the Palace Theatre on Instagram https://www.instagram.com/atthepalace/

Interview conducted by Richard Young

If you have a story idea or would like to become a Volunteer Writer for The Beat Magazine, you can reach Richard at richardyoung@thebeatmagazine2025.ca

“It’s a Privilege to Pee!” Brilliant and Thought-Provoking: Urinetown Shines at the Palace Theatre

by Richard Young

By Jo-Anne Bishop

(Cast and Crew of Urinetown: The Musical. Photo Credit: Ross Davidson)

Community theatre can sometimes surprise you. Occasionally, it can even rival (or surpass!) professional productions in artistry, ambition, and execution. That was unquestionably the case with this remarkable staging of Urinetown: The Musical at the Palace Theatre.

Directed by Sydney Brockway, produced by Ceris Thomas, and featuring an orchestra under the leadership of Steven Morley, this production demonstrated a level of talent that felt genuinely world-class, and all the more impressive given its community theatre setting.

For those unfamiliar with the show, Urinetown is far more than its intentionally provocative title suggests. The musical is a sharp political satire that explores themes of corporate greed, environmental crisis, class inequality, and the consequences of unchecked capitalism. Set in a dystopian future where water scarcity has led to the privatization of public amenities — including toilets — the story examines power, resistance, and the moral ambiguities of revolution. At the same time, it quite cleverly parodies the conventions of musical theatre itself by breaking the fourth wall and inviting audiences to question not only the characters’ motives, but their own assumptions about justice and heroism.

(Pictured: Jesslyn Hodgson as Hope Cladwell, Sean Brennan as Caldwell B. Cladwell, and Ensemble members. Photo Credit: Ross Davidson.)

Balancing humour with social commentary is no easy task, yet this production navigated both with intelligence and confidence. Notably, the company also extended these themes beyond the stage through direct outreach to unhoused members of the surrounding community. An effort that meaningfully deepened the production’s social resonance.

(Pictured: Laura Williams as Penelope Pennywise, Henry Truong as Bobby Strong, and Allison Gold as Ma Strong. Photo Credit: Ross Davidson.)

The performances were uniformly exceptional. Kate Sepi delivered a commanding and charismatic Officer Lockstock, serving as both narrator and participant with clarity, presence, and authority. Henry Truong, as Bobby Strong, brought both emotional sincerity and vocal strength to the role, grounding the story’s central conflict with authenticity. Jesslyn Hodgson as Hope Cladwell possessed a vocal quality that elevated every musical moment she touched. Sean Brennan delivered a captivating and hilarious Caldwell B. Cladwell, creating a villain whose presence was magnetic and layered. His performance (for me) stood comfortably alongside work seen on much larger and better-funded stages. Rae Ryder as Little Sally offered memorable nuance and charm, embodying the show’s self-aware humour with skill.

(Pictured: Rae Ryder as Little Sally and Kate Sepi as Officer Lockstock. Photo Credit: Ross Davidson.)

A particularly extraordinary moment behind the scenes became one of the evening’s most impressive achievements: Penelope Pennywise, normally played by Laura Williams, was unexpectedly performed on opening night by director Sydney Brockway herself due to illness. Had there not been a notice in the lobby advising of the opening night change, audiences would never have known. It was a nearly seamless, truly confident, and fully realized performance, and a testament to Brockway’s professionalism and depth of preparation. However, it is my understanding that, as commendable as Sydney’s performance was, Laura’s performance is one not to be missed, which is why I will be making a return trip to see Penelope Pennywise in her other form, once Laura is cleared to return.

(Pictured: Sydney Brockway, Urinetown Director/Choreographer. Photo Credit: Ross Davidson.)

Equally impressive was the ensemble. There was not a weak link in the company, and truly, there are no small roles in this production. Each cast member is to be commended for delivering an exceptional performance, owning every line and every beat. The choreography was executed with precision, energy, and commitment, and the cast functioned as a cohesive storytelling unit throughout. At various points in the evening, nearly every ensemble member captured attention, which is a hallmark of strong direction and engaged performers.

(Pictured: Urinetown Ensemble Members. Photo Credit: Ross Davidson.)

The design elements further strengthened the production. Costumes by the team of Tannis Daoust, Chloe Scripnick, and Chatham Vy were thoughtfully conceived, particularly in their use of colour to distinguish social groups: the impoverished citizens versus the corporate faction. The costume choices enhanced the visual storytelling clearly and effectively. Combined with the set, props, lighting, and musical direction, the overall aesthetic achieved a level of polish that elevated the entire production.

(Pictured: Foreground Jesslyn Hodgson as Hope Cladwell and Henry Truong as Bobby Strong. Photo Credit: Ross Davidson.)

What elevates this production even further is the company’s commitment to connecting the show’s themes with the lived realities of the surrounding community. Members of the cast shared that during the rehearsal process, they felt a responsibility to recognize and engage with unhoused individuals living in the neighbourhood around the theatre. They responded not only with awareness but with action, providing food and basic necessities during the rehearsals and the run of the production. This effort was also acknowledged in a cast note included in the program, which read:

“Urinetown the Musical is about access, power, and what happens when basic human needs are controlled by systems rather than compassion. Producing this show in a neighbourhood where these questions are not abstract, but lived, reminds us that theatre doesn’t exist in a vacuum. We acknowledge the people in our community who are navigating housing insecurity, poverty, and barriers to care, and we affirm their dignity and humanity. We invite audiences to laugh, think, and leave asking bigger questions about how communities choose to care for one another.”

(Photo Credit: Ross Davidson.)

This initiative demonstrated a meaningful alignment between art and empathy, reinforcing the social relevance of the production beyond the stage itself. And this, for me, is the longstanding purpose of the arts. To merge art and real life, and to showcase the stories that make us human.

If there were any critique to be offered, it would be that the orchestra occasionally overpowered the vocals in certain moments. However, this was a relatively minor issue within an otherwise outstanding musical presentation.

Ultimately, this production of Urinetown exemplifies what community theatre can accomplish when passion, talent, and leadership align. It was bold, intelligent, and thoroughly entertaining. It is a production that not only delighted audience members but also invited them to reflect on timely social questions. Productions of this calibre are something any arts community should be proud to claim. This show deserves full audiences for the rest of its run. Please, plan to see this production and tell your friends.

As always, please support the arts. Keep storytelling alive.

IF YOU GO:

What: Urinetown: The Musical with Music and Lyrics by Mark Hollman, Book and Lyrics by Greg Kotis

When: February 19th to March 1st, 2026

Where: The David Long Stage at the Palace Theatre, 710 Dundas Street, London, Ontario.

Tickets: $23 (students) – $38  Tickets | Urinetown: The Musical | The Palace Theatre Arts Commons

Reviewed by Jo-Anne Bishop

Urinetown – What’s in a name?

by Richard Young

Producer Ceris Thomas explains the meaning of the title Urinetown in this exchange with Beat Magazine Publisher Richard Young. Urinetown: The Musical plays at the Palace Theatre from February 19 to March 1.

(Pictured: Ceris Thomas. Photo Credit: Ross Davidson.)

“Urinetown: The Musical is notoriously hard to describe, which is probably why so many explanations feel incomplete or confusing. Honestly, if it had a different title, people might find it easier to just shrug and say, “Sure—let’s go see this thing.”

At its core, Urinetown is a dystopian satire that imagines a world so devastated by water shortages that bathrooms no longer exist in private homes. To manage the crisis, business and government join forces and arrive at a “solution”: the public must pay to pee. It’s an intentionally oversimplified take on a massive environmental issue, designed to get the audience quickly and clearly into the world of the show.

As with many well-meaning systems in a capitalist society, the opportunity to profit from an unavoidable human need quickly curdles into greed and manipulation. That’s where we meet the people of Urinetown—some desperate to survive, others perfectly comfortable in their assumed wealth and eager to raise the fees even higher.

The absurdity, poignancy, and laugh-out-loud comedy come from how the story is told. One of the creators’ most delightful choices is the musical’s constant tribute to classic Broadway shows. One song clearly channels Fiddler on the Roof; the next explodes with unmistakable West Side Story energy. The first time I heard it, I actually laughed out loud in my car.

If you’ve ever seen a musical—any musical—you’ll catch the references and giggle along. And if you’re someone who doesn’t usually like musicals? This show lovingly invites you to laugh at all the ones your mom dragged you to see.”

IF YOU GO:

What: London Community Players present Urinetown: The Musical

When: February 19 to March 1, 2026

Where: David Long Stage, Palace Theatre, 710 Dundas St., London, ON

Tickets: Adults: $38,  Students/Seniors (55+): $36, Youth (under 18): $23, Preview: $28 (fees included). https://mytickets.palacetheatre.ca/eventperformances.asp?evt=514

To learn more about Urinetown: The Musical and the Palace Theatre, visit https://palacetheatre.ca/

Follow the Place Theatre on Facebook https://www.facebook.com/atthepalacetheatre and Instagram https://www.instagram.com/atthepalace/

London Community Players’ Urinetown: The Musical opens February 19

by Richard Young

London Community Players’ production of Urinetown: The Musical opens this week at the Palace Theatre. What follows is a Q&A Interview with the play’s producer, Ceris Thomas, conducted by Richard Young.

(Pictured: Laura Williams as Penelope Pennywise, Henry Truong as Bobby Strong, Jesslyn Hodgson as Hope Cladwell, and Allison Gold as Josephine “Ma” Strong. Photo Credit: Ross Davidson.)

Q. The description of Urinetown: The Musical found on the Palace Theatre website reads: “In a dystopia ruled by drought and corporate greed, public toilets are the law— and rebellion smells suspiciously like revolution. Equal parts absurd, poignant, and laugh-out-loud funny, Urinetown skewers capitalism, power, and musical theatre itself.” Could you break that down for our readers?

Urinetown: The Musical is notoriously hard to describe, which is probably why so many explanations feel incomplete or confusing. Honestly, if it had a different title, people might find it easier to just shrug and say, “Sure—let’s go see this thing.”

At its core, Urinetown is a dystopian satire that imagines a world so devastated by water shortages that bathrooms no longer exist in private homes. To manage the crisis, business and government join forces and arrive at a “solution”: the public must pay to pee. It’s an intentionally oversimplified take on a massive environmental issue, designed to get the audience quickly and clearly into the world of the show.

As with many well-meaning systems in a capitalist society, the opportunity to profit from an unavoidable human need quickly curdles into greed and manipulation. That’s where we meet the people of Urinetown—some desperate to survive, others perfectly comfortable in their assumed wealth and eager to raise the fees even higher.

(Pictured: Kate Sepi as Officer Lockstock and Luke Bainbridge as Officer Barrel. Photo Credit: Ross Davidson.)

The absurdity, poignancy, and laugh-out-loud comedy come from how the story is told. One of the creators’ most delightful choices is the musical’s constant tribute to classic Broadway shows. One song clearly channels Fiddler on the Roof; the next explodes with unmistakable West Side Story energy. The first time I heard it, I actually laughed out loud in my car.

If you’ve ever seen a musical—any musical—you’ll catch the references and giggle along. And if you’re someone who doesn’t usually like musicals? This show lovingly invites you to laugh at all the ones your mom dragged you to see.

(Pictured: Ceris Thomas, Producer of Urinetown: The Musical.)

Q. It also reads: “No one is safe. Not even the audience. Bring your sense of humour — and your spare change,” implying audience members will be expected to participate in some way. Will they? 

The fourth wall is very much broken in this production. Officer Lockstock serves as the show’s narrator, frequently conversing with Little Sally, a member of the “poor” who isn’t afraid to challenge Lockstock’s interpretation of events. Beyond that, the audience needs only to bring a sense of humour and a willingness to laugh out loud at the shenanigans of the players.

(Pictured: Ryan Starkweather as Senator Fipp, Jesslyn Hodgson as Hope Cladwell, and Sean Brennan as Caldwell B. Cladwell. Photo Credit: Ross Davidson.)

Q. Can you provide a brief Synopsis of the play? 

Our parody poster series—riffing on Les Misérables, West Side Story, The Producers, Wicked, and more—wasn’t just a marketing gimmick. It was a visual clue to the DNA of Urinetown itself. The show gleefully borrows familiar musical theatre tropes and iconic structures, reshaping them to tell its own absurd and pointed story.

At its heart, Urinetown gives us all the classics: a villain who controls the money, the police, and the government; a hero who controls nothing but works hard and dreams of a better future; and a beautiful daughter of the villain who becomes the catalyst for change when our hero falls instantly in love. His life is upended, his resolve hardens, and he sets out to fix a broken world—for love, for justice, and for the people he cares about.

What follows are the choices made by the citizens of Urinetown, and the consequences that come with them. It’s familiar, it’s twisted, it’s self-aware—and all of it is driven by music that is relentlessly fun.

(Pictured: Urinetown Les Misérables parody poster.)

Q. Do any of the play’s satirical situations and themes have local relevance? 

Yes—and the relevance is immediate and unavoidable. The neighbourhood surrounding our theatre is routinely ignored by municipal leadership. The parking lot outside our doors has no public bathroom, and as a result, it becomes the only option for people who have nowhere else to go. That reality mirrors Urinetown so closely that it feels less like satire and more like lived experience.

In Urinetown, the poor are criminalized for existing. They are punished for meeting basic human needs, while those in power remain insulated from the consequences of their decisions. That dynamic is playing out here as well. When audiences say they are “afraid” to come to this area, that fear reflects the same distance and neglect that allow these conditions to persist.

We believe that is exactly why it is important to come. Showing up matters. Being present in this neighbourhood matters. Urinetown asks us to look at who we ignore, who we punish, and who we choose to care about—and invites audiences to step into a space that deserves attention, investment, and humanity.

Coming to this neighbourhood—choosing to be present, to witness, to engage—is not something to be afraid of. It’s something that matters. Urinetown asks us who we ignore, who we punish, and who we decide is worth showing up for. In this case, the question doesn’t end when the curtain comes down.

Q. Will the audience recognize any of the play’s musical numbers? 

Even if audiences don’t know the specific musical numbers themselves, they will absolutely recognize what those songs are paying homage to. Urinetown is filled with stylistic tributes to iconic musicals—there are clear nods to Fiddler on the Roof and West Side Story, as well as The Fantasticks, among others. The familiarity isn’t about recognizing a tune, but about recognizing the style, which makes the jokes land and the storytelling even richer for theatre-literate audiences—while still being fun and accessible for everyone else.

Q. What challenges have you encountered bringing this play to the Palace Theatre stage? 

The journey to bringing Urinetown to the Palace Theatre has been both unexpected and incredibly rewarding. London Community Players originally had a different production planned for this slot, but when royalties became unavailable, we had to pivot quickly. That shift led me to reach out to a talented artist I knew from other shows, and I was thrilled when she agreed to join us on the David Long Stage.

Choosing Urinetown turned out to be an inspired fit. There is a deep pool of artists in London who have been eager for the chance to tackle this show, and the auditions reflected that excitement. We welcomed many new performers into the room, which always brings fresh energy to a production. Rehearsals have been collaborative, joyful, and full of discovery.

As with any show, the real problem-solving began once we moved onto the stage. Urinetown asks us to create several locations within a single city, and the David Long Stage offers limited wing space. Rather than seeing that as a limitation, our team embraced it as a creative opportunity—finding smart, imaginative ways to build a complete world that could live in one place. As a first-time set designer, after taking a course in Stratford last summer, I’ve been supported by an incredible crew. I’m learning that a set is never truly finished; it simply reaches the moment where it’s ready to welcome an audience.

(Pictured: Leah Exley, Christine Varga, Luba Skyba, Nicholas McConnell, Amelia Armstrong, Matt deKort – Urine Good Company Employees. Photo Credit: Ross Davidson.)

Q. Your marketing/social media campaign for Urinetown has been nothing short of brilliant. Could you give a shout-out to those individuals responsible for it?

Thank you! We really appreciate your kind words and that you’ve been following our campaign.

The “Pets of Urinetown” came about naturally because so many of our cast members have pets. Sharing stories and photos of their furry friends was a fun, comfortable way for the cast to connect—and I thought it would be a gentle, playful way to spark interest in the show.

(Pictured: Pets of Urinetown poster.)

The poster campaign, on the other hand, was entirely the brainchild of the brilliant Henry Truong, who also plays Bobby Strong, our hero. Henry came up with the imagery, collaborated with others to bring the visuals to life, and even wrote all the copy. It was a truly inspired creative effort.

Urinetown gives so many ways to engage with the material, from the music to the story to the little touches we’ve created for social media. I think that’s why people who love this show really, really love it—and our team’s creativity has made sharing that love so much fun.

Q. Is there anything else you think our readers should know about LCP’s production of Urinetown? 

One thing to know: it’s not here long! Urinetown runs for just eight performances, from Thursday, February 19th through Sunday, March 1st. Both Sunday shows are matinees, and the second Saturday also offers a matinee to give those who might feel less comfortable in the area another chance to attend. That Saturday matinee will also be adjudicated for the WODL festival, with a public adjudication immediately following the performance for anyone who wants to stay and watch.

For peace of mind, LCP provides security at all of our productions, with patrolled entrances and monitored parking. And as a bonus, parking behind the theatre is now free at all times.

Don’t miss it—once it’s gone, it’s gone!

(Laura Williams as Penelope Pennywise and Matt deKort as Old Man Strong. Photo Credit: Ross Davidson.)

CREATIVE TEAM

Producer – Ceris Thomas

Director – Sydney Brockway

Stage Manager – Amanda Marshall

Musical Director – Steven Morley

Lighting Designer – Indrani Mahadeo

Sound Designer – Quinton Esquega

Costume Designer – Tannis Daoust

Costume Assistant – Chaaya Vy

Costume Assistant – Chloe Scripnick

Sound Operator – Doug Deschenes

Lighting Operator – Jenny Katkov

Assistant Stage Manager – Larissa Bartlett

Assistant Stage Manager – Jess Bohan

CAST

Kate Sepi – Officer Lockstock

Luke Bainbridge – Officer Barrel

Rae Ryder – Little Sally

Henry Truong – Bobby Strong

Jesslyn Hodgson – Hope

Laura Williams – Pennywise

Sean Brennan – Cladwell

Ryan Starkweather – Fipp

David Lu – McQueen

Cassandra “Cass” Allen – Mrs. M/Boy Cop #1

Skyler Gallagher – Dr. B/Cop

Jade Rogers – Secretary/Cop

Nicholas McConnell – Hotblades Harry/Boy Cop #3

Antonia Sidiropoulos – Little Becky Two Shoes/Cop

Matt deKort – Old Man Strong/Ensemble

Allison Gold – Josephine “Ma” Strong/Cop

Jennifer Groulx – Tiny Tom/Boy Cop #2

Christine Varga – Soupy Sue/Cop

Dustin Freeman – Robbie the Stockfish/Cop

Luba Skyba – Billy Boy Bill/Cop

Charlotte “Charlie” Camrass – Rebel Poor/Girl Cop #1

Amelia Armstrong – Ensemble

Leah Exley – Ensemble

IF YOU GO:

What: London Community Players present Urinetown: The Musical

When: February 19 to March 1, 2026

Where: David Long Stage, Palace Theatre, 710 Dundas St., London, ON

Tickets: Adults: $38,  Students/Seniors (55+): $36, Youth (under 18): $23, Preview: $28 (fees included). https://mytickets.palacetheatre.ca/eventperformances.asp?evt=514

To learn more about Urinetown: The Musical and the Palace Theatre, visit https://palacetheatre.ca/

Follow the Place Theatre on Facebook https://www.facebook.com/atthepalacetheatre and Instagram https://www.instagram.com/atthepalace/

Q&A Interview with Ceris Thomas conducted by Richard Young

Q&A with Ceris Thomas, Producer of London Community Players’ Urinetown: The Musical.

by Richard Young

What follows is a Q&A Interview with Ceris Thomas, producer of London Community Players’ production of Urinetown: The Musical, playing at the Palace Theatre from February 19 to March 1.

Q. The description of Urinetown: The Musical found on the Palace Theatre website reads: “In a dystopia ruled by drought and corporate greed, public toilets are the law— and rebellion smells suspiciously like revolution. Equal parts absurd, poignant, and laugh-out-loud funny, Urinetown skewers capitalism, power, and musical theatre itself.” Could you break that down for our readers?

(Pictured: Ceris Thomas, Producer of Urinetown: The Musical.)

Urinetown: The Musical is notoriously hard to describe, which is probably why so many explanations feel incomplete or confusing. Honestly, if it had a different title, people might find it easier to just shrug and say, “Sure—let’s go see this thing.”

At its core, Urinetown is a dystopian satire that imagines a world so devastated by water shortages that bathrooms no longer exist in private homes. To manage the crisis, business and government join forces and arrive at a “solution”: the public must pay to pee. It’s an intentionally oversimplified take on a massive environmental issue, designed to get the audience quickly and clearly into the world of the show.

As with many well-meaning systems in a capitalist society, the opportunity to profit from an unavoidable human need quickly curdles into greed and manipulation. That’s where we meet the people of Urinetown—some desperate to survive, others perfectly comfortable in their assumed wealth and eager to raise the fees even higher.

Pictured: Urinetown’s Officer Lockstock (Kate Sepi), accompanied by Officer Barrel (Luke Bainbridge). Photo Credit: Ross Davidson.)

The absurdity, poignancy, and laugh-out-loud comedy come from how the story is told. One of the creators’ most delightful choices is the musical’s constant tribute to classic Broadway shows. One song clearly channels Fiddler on the Roof; the next explodes with unmistakable West Side Story energy. The first time I heard it, I actually laughed out loud in my car.

If you’ve ever seen a musical—any musical—you’ll catch the references and giggle along. And if you’re someone who doesn’t usually like musicals? This show lovingly invites you to laugh at all the ones your mom dragged you to see.

Q. It also reads: “No one is safe. Not even the audience. Bring your sense of humour — and your spare change,” implying audience members will be expected to participate in some way. Will they? 

The fourth wall is very much broken in this production. Officer Lockstock serves as the show’s narrator, frequently conversing with Little Sally, a member of the “poor” who isn’t afraid to challenge Lockstock’s interpretation of events. Beyond that, the audience needs only to bring a sense of humour and a willingness to laugh out loud at the shenanigans of the players.

(Pictured: Urinetown Les Misérables parody poster.)

Q. Can you provide a brief Synopsis of the play? 

Our parody poster series—riffing on Les Misérables, West Side Story, The Producers, Wicked, and more—wasn’t just a marketing gimmick. It was a visual clue to the DNA of Urinetown itself. The show gleefully borrows familiar musical theatre tropes and iconic structures, reshaping them to tell its own absurd and pointed story.

At its heart, Urinetown gives us all the classics: a villain who controls the money, the police, and the government; a hero who controls nothing but works hard and dreams of a better future; and a beautiful daughter of the villain who becomes the catalyst for change when our hero falls instantly in love. His life is upended, his resolve hardens, and he sets out to fix a broken world—for love, for justice, and for the people he cares about.

What follows are the choices made by the citizens of Urinetown, and the consequences that come with them. It’s familiar, it’s twisted, it’s self-aware—and all of it is driven by music that is relentlessly fun.

(Pictured: Urinetown West Side Story parody poster.)

Q. Do any of the play’s satirical situations and themes have local relevance? 

Yes—and the relevance is immediate and unavoidable. The neighbourhood surrounding our theatre is routinely ignored by municipal leadership. The parking lot outside our doors has no public bathroom, and as a result, it becomes the only option for people who have nowhere else to go. That reality mirrors Urinetown so closely that it feels less like satire and more like lived experience.

In Urinetown, the poor are criminalized for existing. They are punished for meeting basic human needs, while those in power remain insulated from the consequences of their decisions. That dynamic is playing out here as well. When audiences say they are “afraid” to come to this area, that fear reflects the same distance and neglect that allow these conditions to persist.

We believe that is exactly why it is important to come. Showing up matters. Being present in this neighbourhood matters. Urinetown asks us to look at who we ignore, who we punish, and who we choose to care about—and invites audiences to step into a space that deserves attention, investment, and humanity.

Coming to this neighbourhood—choosing to be present, to witness, to engage—is not something to be afraid of. It’s something that matters. Urinetown asks us who we ignore, who we punish, and who we decide is worth showing up for. In this case, the question doesn’t end when the curtain comes down.

Q. Will the audience recognize any of the play’s musical numbers? 

Even if audiences don’t know the specific musical numbers themselves, they will absolutely recognize what those songs are paying homage to. Urinetown is filled with stylistic tributes to iconic musicals—there are clear nods to Fiddler on the Roof and West Side Story, as well as The Fantasticks, among others. The familiarity isn’t about recognizing a tune, but about recognizing the style, which makes the jokes land and the storytelling even richer for theatre-literate audiences—while still being fun and accessible for everyone else.

Q. What challenges have you encountered bringing this play to the Palace Theatre stage? 

The journey to bringing Urinetown to the Palace Theatre has been both unexpected and incredibly rewarding. London Community Players originally had a different production planned for this slot, but when royalties became unavailable, we had to pivot quickly. That shift led me to reach out to a talented artist I knew from other shows, and I was thrilled when she agreed to join us on the David Long Stage.

Choosing Urinetown turned out to be an inspired fit. There is a deep pool of artists in London who have been eager for the chance to tackle this show, and the auditions reflected that excitement. We welcomed many new performers into the room, which always brings fresh energy to a production. Rehearsals have been collaborative, joyful, and full of discovery.

As with any show, the real problem-solving began once we moved onto the stage. Urinetown asks us to create several locations within a single city, and the David Long Stage offers limited wing space. Rather than seeing that as a limitation, our team embraced it as a creative opportunity—finding smart, imaginative ways to build a complete world that could live in one place. As a first-time set designer, after taking a course in Stratford last summer, I’ve been supported by an incredible crew. I’m learning that a set is never truly finished; it simply reaches the moment where it’s ready to welcome an audience.

Q. Your marketing/social media campaign for Urinetown has been nothing short of brilliant. Could you give a shout-out to those individuals responsible for it?

Thank you! We really appreciate your kind words and that you’ve been following our campaign.

(Pictured: Pets of Urinetown poster.)

The “Pets of Urinetown” came about naturally because so many of our cast members have pets. Sharing stories and photos of their furry friends was a fun, comfortable way for the cast to connect—and I thought it would be a gentle, playful way to spark interest in the show.

The poster campaign, on the other hand, was entirely the brainchild of the brilliant Henry Truong, who also plays Bobby Strong, our hero. Henry came up with the imagery, collaborated with others to bring the visuals to life, and even wrote all the copy. It was a truly inspired creative effort.

Urinetown gives so many ways to engage with the material, from the music to the story to the little touches we’ve created for social media. I think that’s why people who love this show really, really love it—and our team’s creativity has made sharing that love so much fun.

Q. Is there anything else you think our readers should know about LCP’s production of Urinetown? 

One thing to know: it’s not here long! Urinetown runs for just eight performances, from Thursday, February 19th through Sunday, March 1st. Both Sunday shows are matinees, and the second Saturday also offers a matinee to give those who might feel less comfortable in the area another chance to attend. That Saturday matinee will also be adjudicated for the WODL festival, with a public adjudication immediately following the performance for anyone who wants to stay and watch.

For peace of mind, LCP provides security at all of our productions, with patrolled entrances and monitored parking. And as a bonus, parking behind the theatre is now free at all times.

Don’t miss it—once it’s gone, it’s gone!

CREATIVE TEAM

Producer – Ceris Thomas

Director – Sydney Brockway

Stage Manager – Amanda Marshall

Musical Director – Steven Morley

Lighting Designer – Indrani Mahadeo

Sound Designer – Quinton Esquega

Costume Designer – Tannis Daoust

Costume Assistant – Chaaya Vy

Costume Assistant – Chloe Scripnick

Sound Operator – Doug Deschenes

Lighting Operator – Jenny Katkov

Assistant Stage Manager – Larissa Bartlett

Assistant Stage Manager – Jess Bohan

CAST

Kate Sepi – Officer Lockstock

Luke Bainbridge – Officer Barrel

Rae Ryder – Little Sally

Henry Truong – Bobby Strong

Jesslyn Hodgson – Hope

Laura Williams – Pennywise

Sean Brennan – Cladwell

Ryan Starkweather – Fipp

David Lu – McQueen

Cassandra “Cass” Allen – Mrs. M/Boy Cop #1

Skyler Gallagher – Dr. B/Cop

Jade Rogers – Secretary/Cop

Nicholas McConnell – Hotblades Harry/Boy Cop #3

Antonia Sidiropoulos – Little Becky Two Shoes/Cop

Matt deKort – Old Man Strong/Ensemble

Allison Gold – Josephine “Ma” Strong/Cop

Jennifer Groulx – Tiny Tom/Boy Cop #2

Christine Varga – Soupy Sue/Cop

Dustin Freeman – Robbie the Stockfish/Cop

Luba Skyba – Billy Boy Bill/Cop

Charlotte “Charlie” Camrass – Rebel Poor/Girl Cop #1

Amelia Armstrong – Ensemble

Leah Exley – Ensemble

IF YOU GO:

What: London Community Players present Urinetown: The Musical

When: February 19 to March 1, 2026

Where: David Long Stage, Palace Theatre, 710 Dundas St., London, ON

Tickets: Adults: $38,  Students/Seniors (55+): $36, Youth (under 18): $23, Preview: $28 (fees included). https://mytickets.palacetheatre.ca/eventperformances.asp?evt=514

To learn more about Urinetown: The Musical and the Palace Theatre, visit https://palacetheatre.ca/

Follow the Place Theatre on Facebook https://www.facebook.com/atthepalacetheatre and Instagram https://www.instagram.com/atthepalace/

Q&A Interview with Ceris Thomas conducted by Richard Young